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The Dream Anatomy series explore these imagined realms inside the body. Because these garments are meant to be worn, the boundary between the internal and the external is blurred. The invisible is made visible: wear your inside on the outside. By using women’s slips and nighties, articles that were not originally intended for public life, I am playiing with the line between the public and the private arenas.
Most of the garments and fabrics I use come from thrift stores and garage sales. If you look carefully, you will find stains and worn areas: vestiges of a previous life. I am fascinated by the emotional patina that accompanies cast-offs. I choose to recycle worn garments because our bodies also bear the marks of our daily lives, both externally and internally.
 
   
Everybody’s got a body, but few of us take the time to contemplate what is beneath the surface of our skin. For centuries, physicians and artists have attempted to make sense of the complexities hidden inside. Early anatomical illustrations are often a mixture of correct and incorrect assumptions. Some artists rely on metaphor rather than verisimilitude.
 
The Dress for the Blood Countess was made for a historical figure by the name of Erzsebet Bathory. She was a 16th century Hungarian countess that had the nasty habit of torturing & killing young women, then bathing in their blood in order to make her skin more youthful.The garment is made up of used white leather gloves that have been deconstructed & sewn together. The gloves represent the flesh of the Countess' victims, that she was trying to appropriate for her own selfish needs.